Judas Maccabaeus, oratorio, HWV 63 | Details | AllMusic Judas Maccabaeus, oratorio, HWV 63 Share this page google+ Description by Brian Robins During Handel 's lifetime, Judas Maccabaeus was one of the most popular of all his oratorios. Following its hugely successful first performance at London's Covent Garden theater on April 1, 1747, the work was subsequently revived during Handel 's oratorio seasons every year until his death in 1759, with the single exception of 1749. Yet the oratorio has its genesis in one of the bleaker periods of Handel 's life. In 1745 he was forced to abandon his Covent Garden season for lack of support, and he was also in ill-health. Notwithstanding, Judas Maccabaeus was begun in the fall of that year. The work was temporarily laid aside in favor of The Occasional Oratorio, quickly composed and drawing heavily from preexisting material, as Handel 's loyalist contribution to the fight to put down the serious Jacobite revolution launched by the Stuarts.

Only after the threat of the rebellion's success was lifted following the bloodily conclusive battle of Culloden in April 1746 did Handel again take up the score, completing it on August 11. With its warlike story of the triumph of a Jewish hero over invading forces, Judas Maccabaeus formed the ideal victory celebration, and was overtly planned as such by Handel and his librettist, the Rev. Thomas Morrell. Indeed the latter designed his book as "a compliment to the Duke of Cumberland upon his returning victorious from Scotland." Its main source is the first book of Maccabees, which appears in the Apocrypha. The oratorio falls into three acts, the first of which opens after one of Handel 's finest overtures, with the mourning of the Israelites lamenting the death of Mattathias, the father of Judas Maccabaeus and the leader of Jewish resistance to the invading Syrians. This somber opening sequence includes one of Handel 's most famous arias, "Pious orgies," with its mournful tones underpinned by dark bassoons.

The Israelites are galvanized by Judas, and the remainder of the oratorio is dominated by a militaristic triumphalism illustrated through some of Handel 's grandest and most stirring choruses, among which "Sound an alarm" (Act Two) and "Sing unto God" (Act Three) are notable examples. At the end of the oratorio the exploits of Judas and his forces ensure a peace guaranteed by Roman power, a moment celebrated in one of the oratorio's few moments of repose in "O lovely peace," the lovely pastoral aria sung by the Israelite Woman. The famous number "See the conqu'ring Hero" is often associated with Judas, but was in fact originally composed for the oratorio's close relative, Joshua (1747); it was only later added to the present work. In keeping with the mood and scale of the work, Handel 's lavish scoring includes trumpets, horns, and timpani in addition to the flutes, oboes, and the usual complement of strings. There are solo parts for soprano, mezzo-soprano, alto, tenor, and two basses in addition to the usual four-part chorus.

Judas Maccabaeus is one of the few oratorios to have remained popular from Handel 's day through to the twenty-first century. A singular hit with the Jewish population of London at the time, it remains a celebration of the Feast of Hanukkah, which commemorates the events it depicts. Parts/Movements From this dread scene these, adverse pow'rs For Sion lamentation make Not vain is all this storm of grief Pious orgies, pious airs, decent sorrow Oh Father, whose almighty pow'r I feel the Deity within Arm, ye brave! Call forth thy pow'rs, my soul To Heav'ns Almighty King we kneel Oh liberty, thou choicest treasure Come, ever smiling liberty Oh Judas, may these noble views 'Tis liberty, dear liberty alone, Come, ever smiling liberty Lead on! Judah disdains the galling load of hostile chains So will'd my father now at rest Disdainful of danger, we'll rush on the foe, Semichorus Ambition!

If e'er honour was thine aim No unhallow'd desire our breasts shall inspire Oh Judas, may thy just pursuits May balmy peace, and wreath'd renown Far brighter than the morning Haste we, my brethren Victorious hero! Fame shall tell So rapid thy course is May well we hope our freedom receive Flowing joys do now surround me Sion now her head shall raise Oh let eternal honours crown his name, From mighty Kings we took the spoil Hail, Judea, happy land How vain is man, who boasts in fight Great in wisdom, great in glory Oh Judas, of my brethen! Oh! wretched Israel! My arms! against his Gorgias Sound an alarm! Your silver trumpets sound Enough! To heav'n leave the rest With pious hearts, and brave as pious Ye worshippers of God Wise men, flatt'ring may decieve us Oh!

Never bow we down Father of Heav'n!, See yon flames, that from the altar broke Oh grant it, Heav'n that our long woes So shall the lute and harp awake From Capharsalama, on eagle wings I fly Pow'rful guardians of all nature All his mercies I review Happy, oh, thrice happy we Yet more, Nicanor lies with thousands slain But low! The conqueror comes See the conqu'ring hero comes! March in G major Sing unto God, and high affections raise Sweet flow the strains, that strike my feasted ear With honour let desert be crown'd Peace to my countrymen Oh! had I Jubal's lyre To our great God be all the honour giv'n Again the earth let gratitude descend Oh lovely peace, with plenty crown'd Rejoice, oh Judah! And, in songs divine Hallelujah Chorus and Amen Judas Maccabaeus If you would like to use these program notes, we request that you acknowledge the author, The Naperville Chorus, and let us know.

Judas Maccabaeus by Georg Frideric Handel The Story The libretto for Judas Maccabeus was written by the Rev.Thomas Morrell, rector of Buckland in Hertfordshire, who was an acquaintance of Queen Caroline. Morrell, who later wrote other libretti for Handel, was easygoing compared to the vain Jennens (the librettist for Messiah and several other Handel works), although Morrell later admitted that working with Handel was not the easiest task! He built the text upon the descriptions in I Maccabees and II Maccabees, from the Old Testament Apocrypha. The story of the Maccabees- the name has been applied to the entire movement, although it is not clear that anyone other than Judas himself was ever called “the Maccabee”-- is a classic of the weak-defeating-the-strong genre. Judas was the third son of Mattathias of Modein, who had begun the revolt against the Greco-Syrian empire of Antiochus IV Epiphanes after the emperor attempted to impose the Greek religion on all subjects.

Judas, a priest, led the resistance after Mattathias' death in 166 B.C. His forces subsequently won several critical battles, and in 164 B.C. they recaptured the Temple and restored it to the worship of Yahweh as prescribed in the Torah: This event is the basis for the celebration of Hannukah. They failed, however, to drive the entrenched Syrian garrison from the rest of Jerusalem, lost other battles, and Judas himself was killed in 160 B.C. Neither Judas nor his brother Jonathan, who succeeded him, left offspring, but his eldest brother Simon became the progenitor of a line of Judean kings. The Music Judas Maccabeus represented a stylistic departure from Handel's most recent previous oratorio, Belshazzar. In many respects, Judas is more like Messiah, which was written over five years earlier; it contains more narrative and less action than Belshazzar, even though Jennens was the librettist for both of the earlier works.

Handel, of course, was first an opera composer, with a keen sense for the dramatic; while Judas has dramatic music, there is little of an operatic character in the libretto. However, the melodies are among Handel's best, and many have survived outside the oratorio, even if sometimes endowed with other texts. There are only three named soloists- Judah (Judas); his eldest brother Simon; and, briefly, the Jewish ambassador to Rome, Eupolemus. Many other solos are sung by a man and a woman representing the Israeli populace, or, in a few arias, an unnamed priest or a messenger; this is a departure from the earlier success of Saul, in which the chorus itself represents the Israeli people. The work is in three parts: In the first, we hear mourning of the death of Mattathias and concern over his successor, with rejoicing when Judas emerges in the latter role. In the second part, there is celebration of some of Judas' victories and concern for yet another battle in the offing; in the third part, Judas has returned victorious and restored the Temple, and the oratorio concludes with rejoicing and celebration of peace and liberty.

Handel, as others have noted, was an inveterate recycler of his own works, and, as he often did with his most successful oratorios, he augmented Judas by adding numbers from other works: “Sion now her head shall raise”, for example, was a 1757 addition from Esther, and “See the conquering hero comes” was appropriated from the 1748 oratorio Joshua. Whatever the rationale, and in spite of the mismatched story lines, the English public- and other audiences since- have kept this a favorite of the repertoire. Although Handel did not write operas after the early 1740's, he remained a prolific composer- at least six works separated Judas from Messiah- and as noted by Anthony Hicks, Handel was a contributor to every musical genre of his time, remaining so even after becoming totally blind in his last years. He died in April, 1759. The Back Story In the tangled web of British royal history, it is often difficult to tell who is the foe. One of many reversals in direction occurred in1685, when James Francis Edward Stuart became King James II of England.

James, a Roman Catholic, succeeded his brother Charles II, a good-natured but less-than-effective ruler, and thereafter did everything possible during his nearly four-year reign to re-establish Catholicism in England. Ultimately, James' intransigence in that pursuit led to his overthrow and banishment to France, whence he was replaced by his Protestant daughter Mary and her husband William, the only co-regents in British history. James II, though banished (and owing his life to William, who guaranteed him safe passage from England), continued to seek his rightful place; in 1690 he attempted a military assault, which failed, and he died in 1701. His son James and his grandson Charles-- known in England, respectively, as the “Old Pretender” and the “Young Pretender”-- each made one attempt at recovering the monarchy- the former in 1715, following the death of Queen Anne (the last of the Stuart line), and the latter in 1745, in the middle of the reign of King George II. These were the “Jacobite Risings” (Jacobus being the Latin form of “James”).

Meanwhile, the Hanover-born kings, George I and George II, were enthroned in England under a succession law passed by Parliament in 1701. Both had links to the German-born composer, organist, and impresario, George Frideric Handel; he had been an employee of George I before the latter's accession to the English throne- and had favored the young George-II-to-be with harpsichord lessons, not to mention a set of coronation anthems at his succession in 1727. When “Bonnie Prince Charley”-- the Young Pretender-- landed in Scotland in 1745, with the obvious intent of invading the motherland, a veritable explosion of patriotic fervor surged in England. Crowds sang the national anthem at Drury Lane for the first time ever. Handel was quite ill at the time, but he supported the patriotism by contributing an Occasional Oratorio, made up in large part of music previously used in other oratorios and operas. Patriotic fervor was also rampant in Scotland- at least in the Highlands (the more affluent lowlanders were less than enthused).

Charles, like his father, tried to take advantage of other stresses on England: His invasion came on the heels of war which broke out between England and France in 1744. Charles raised a Scottish army of about 5000, and marched south, winning at least three major battles, and going as far as Derby, less than 100 statute miles from London. This brought palpable fear in the capital, and those able to do so made plans to evacuate. Fortunately for the English, Charles did not get timely support from France (even though that had been promised), and he withdrew to the north. However, because of the threat to London, the Duke of Cumberland, who was then in the Netherlands preparing to face the French, was recalled to England, and in December 1746 his army of about 10,000 met Charles' Highlanders at Culloden Moor, near Inverness, decimating their forces. Charles escaped and went back to France, but the Stuarts never again threatened the monarchy.

If the initial threat from the Young Pretender had prompted a patriotic outcry, his resounding defeat gave rise to nothing less than an orgy, and this time Handel, now recovered, used the occasion to launch a new oratorio-- Judas Maccabeus. One can certainly question the applicability of the Maccabee story- celebrating the victory of a grass-roots rebellion against an established military occupation- to the crushing of an offshore-led Scottish rebellion by an establishment army twice its size. Cumberland's victory came in April, 1746, and Handel composed the oratorio in 34 days, beginning early in July of that year; the premiere, however, was not given until April 1, 1747, almost a year after the victory.

(The delay may have resulted in part from the sensational trial of a Jacobite sympathizer-- Simon Fraser, 11th Lord Lovat-- for high treason.) Handel's apparent intent was to draw a parallel between the valiant Judas and the victorious Duke: Morrell, in fact, wrote a dedication, in the nature of a subtitle, which appeared on the title page of the music: “Faint Portraiture of a Truly Wise, Valiant and Victorious Commander”. Apparently the English public was not critical of the parallel; at any rate, Handel, who had been on the verge of bankruptcy, became once again the apple of the public eye. The popularity of this oratorio nearly eclipsed that of Messiah, and it was performed almost every year thereafter during Handel's lifetime. This is the first time the Chorus has performed this oratorio; the Chorus has a rich history, however, of other Handel works, including multiple performances of Messiah, one of Israel in Egypt (1996), and shorter works including the Coronation Anthems. J. R. Fancher, Oct.

2007 Yale Schola Cantorum | Handel: Judas Maccabeus | Institute of Sacred Music Institute of Sacred Music Home » Calendar » Yale Schola Cantorum | Handel: Judas Maccabeus Yale Schola Cantorum | Handel: Judas Maccabeus Event time: Saturday, January 24, 2015 - 7:30pm to 9:30pm Location: St. Mary's Church See map 5 Hillhouse Ave WEATHER NOTE: The New Haven performance will take place as scheduled. David Hill, conductor The performance of Handel’s masterpiece will be repeated in New York City on Sunday, January 25 at 7 PM in St. Bartholomew’s Church (325 Park Ave. stbarts.org ), in conjunction with the Mid-Manhattan Performing Arts Foundation. The New York performance is also free; no tickets required. Presented with members of Yale Baroque Ensemble with support from Yale School of Music Program Note by Esther Morgan-Ellis English oratorio—the cornerstone of British musical identity in the eighteenth century—was in fact developed and popularized by a German composer who had built his reputation on Italian opera.

George Frideric Handel (1685-1759) emigrated to England in 1713, following several successful visits in which he introduced Italian opera to the British public. In 1719 he founded his own opera company, the Royal Academy of Music, for which he acted as impresario, organizing and controlling every aspect of the productions. Handel’s company relied upon imported Italian singers, who sang in their native language and enjoyed great celebrity and power. Italian opera seria, however, presented the composer with a string of difficulties. To begin with, it was very expensive to produce. Once Handel successfully mounted a production, he had to compete with other opera impresarios for patrons. And even a full house was not the end of the composer’s worries, for Puritans objected to Italian opera on aesthetic, ethical, and political grounds. When Handel suffered a severe bout of ill health in 1737, he found that he was no longer able to withstand the pressures of the opera world. English oratorio, a genre to which Handel had first contributed in 1718, quickly became his sole artistic focus.

Handel’s oratorio style reflected his varied experience as a composer of Italian opera seria, German Passions, and English masques. Oratorio, established as an Italian genre in the previous century, was described by Newburgh Hamilton—one of Handel’s librettists—as “a musical Drama, whose Subject must be Scriptural, and in which the Solemnity of Church-Musick is agreeably united with the most pleasing Airs of the Stage.” Oratorios were never incorporated into worship. Instead, they provided suitable entertainment for the faithful, who were encouraged to avoid the profanities of the stage. Handel wrote largely on Old Testament subjects, but he also experimented more than once with mythical and poetic themes. As in opera, the leading roles are sung by a handful of soloists. In contrast to opera, the chorus in one of Handel’s oratorios is equal in importance to the soloists and always plays a central dramatic role, both as a character and as a commentator. Handel’s oratorios were sung in English, and few Italian singers could perform in that language. This had several implications for the composer, who had to write for and engage English singers instead.

To begin with, English singers were usually not as accomplished as the Italian castrati and prima donnas. Handel assembled a cast of suitable soloists who appeared in many of his oratorios, but these men and women were generally known for their accomplishments on the legitimate stage, not for their musical prowess. Because of his singers’ vocal limitations, Handel’s oratorio arias were often less ornate and virtuosic than his opera arias, although he never sacrificed musical expressivity. The quality of English singers had one more important effect on oratorio staging: they were much less expensive than their Italian counterparts. The production of oratorios was a business venture, and Handel benefitted from every opportunity to cut costs. Handel’s use of English singers also had an important impact on the public reception of his oratorios. Musical stage entertainment with an English text and English singers appealed to the spirit of nationalistic sentiments of Handel’s audience. The plots appealed to these sentiments as well: British theatergoers were quick to read the oratorios as allegorical works, and they appreciated them both as expressions of Christian spirituality and as incisive political commentary.

The fact that oratorio was unstaged accounted for much of its success in England. The absence of scenery and costumes cut down on the cost of oratorio production—and even in the face of Handel’s genius, we cannot ignore the financial considerations that molded his artistic output. However, the Church of England had a much greater influence on Handel’s success with oratorio. The Lord Chamberlain had limited theatrical entertainment during Lent, which meant that opera could hardly turn a profit. Oratorio, on the other hand, was approved for performance because of its subject matter and unstaged presentation style. Handel was able to secure theaters at a reduced rate (they would otherwise remain dark), and he simultaneously enjoyed a monopoly on Lenten audiences. Oratorio attracted audiences even when alternative entertainment was available. It appealed to the British public, which became increasingly conservative during the 18th century. Some felt that religious texts had no place in the theater, but most were satisfied with Handel’s treatment of sacred subject matter. Handel’s audiences were enthralled with the cult of the sublime, an 18th century aesthetic movement which sought to reform the arts and place them on a sound foundation of religion and reason.

Reformers sought not to eliminate entertainment, but to transform diversion into devotion. Handel’s oratorios suited this agenda perfectly. Judas Maccabeus (HV 63) premiered at Covent Garden in 1747 and met with immediate success—perhaps because the allegorical content of this particular oratorio was even more overtly patriotic than usual. Handel composed Judas Maccabeus in 1746 to celebrate the military victory of Prince William Augustus, Duke of Cumberland, at the Battle of Culloden on April 16, 1746. The conflict ended a Jacobite uprising that had sought to restore Charles Edward Stuart to the throne. Cumberland became a popular hero as a result of the victory (the only real success of his military career), and Handel was quick to capitalize on his popularity by celebrating the event with a topical oratorio. Judas Maccabeus relates the events of 170–160 BC, when the Seleucid ruler Antiochus IV sought to exterminate the Jewish religion. The Seleucids were a dynasty of Hellenistic kings that ruled throughout Asia Minor, Syria, and Persia for several centuries.

In an effort to consolidate his empire and strengthen his hold over the region, Antiochus IV prohibited observance of the Sabbath, abolished Jewish law, outlawed circumcision, and ordered the people of Judea to offer animal sacrifices and worship Zeus in the temple. Judas Maccabeus, one of five sons of the revered priest Mattathias, led the resistance against Seleucid oppression and encouraged his people to turn away from paganism and put their trust in Jehovah. This episode in the Jewish saga is recorded in 1 Maccabees, verses 2-8, but librettist Thomas Morell enriched the Old Testament account with narrative elements from Antiquitates Judaicae, a Jewish history compiled by Flavius Josephus around AD 93. The only named characters in Judas Maccabeus are the title character, his brother Simon, and Eupolemus, the Jewish Ambassador to Rome, who delivers the crucial third-act news that Rome has allied with Judea against the Seleucid Empire, thus ensuring peace and the preservation of the Jewish people. Other roles include an Israelite woman, an Israelite man, a priest, and two messengers.

The paucity of characters, however, serves to highlight the significant of the Jewish nation, portrayed by the chorus, as the drama’s most powerful force. It is only through the combined efforts and persevering faith of the Judean people that liberty is finally won. Like most of Handel’s oratorios, Judas Maccabeus opens with a dramatic overture in the French style. Much of Handel’s success derived from formulas and the recycling of musical material, and his overtures are no exception. The French overture was popularized in the court of Louis XIV and, by Handel’s time, had become emblematic of royal pomp. He used this characteristic two-part form to lend gravity and refinement to his theatrical offerings. The first part of a French overture is slow and stately, and it is defined by pervasive dotted rhythms (usually performed in an exaggerated, “double-dotted” style). The second part is faster and features imitative entrances reminiscent of a fugue, although the composer is not obliged to treat these entrances in strict fugal fashion.

The final victory of the Jewish people is marked by one of Handel’s most famous choruses, “See, the conqu’ring hero comes.” This chorus was not a part of the oratorio at its premier, however, nor was it composed with Judas Maccabeus in mind. Instead, “See, the conqu’ring hero comes” was created in 1747 for Handel’s next oratorio, Joshua, which also set a Morell libretto. It was such a success that the composer himself incorporated it retroactively into the score of Judas Maccabeus, and it has featured in every performance since. Admission: JUDAS MACCABEUS - Hymnary.org Log in to make the most of Hymnary.org collections. JUDAS MACCABEUS Thine Is the Glory - (Choral Score) Composer: George Frederick Handel George Frederick Handel; b. 1685, Halle, Germany; d.

1759, London, England Evangelical Lutheran Hymnal, 1908 Go to person page > More tunes with meter 5.5.6.5.6.5.6.5 with refrain ^ top Notes JUDAS MACCABEUS is an arrangement of a tune from the chorus "See, the Conquering Hero Comes" in Handel's oratorio Judas Maccabeus (first performed without this chorus in 1746). Handel initially used the tune in his oratorio Joshua (1747) but transferred it to Judas Maccabeus in 1751; such changes were common in Handel's operas and oratorios. Handel is reported to have said to a friend, "you will live to see it [the tune] a greater favorite with the people than my other finer things." The tune's first appearance in a hymnal was probably in Thomas Butts's Harmonia Sacra (around 1760) where it was set to Charles Wesley's "Christ the Lord Is Risen Today" (388).

This melody, also known as MACCABEUS, is the setting for Edmond Budry's Easter text "A toi la gloire" ("Thine Be the Glory") in a number of modern hymnals. Including the refrain, JUDAS MACCABEUS is cast in a rounded bar form (AABA). Sing in unison or in parts. This tune merits the use of trumpets or a brass ensemble in addition to festive, crisp articulation of organ tones. Georg Friederich Handel (b. Halle, Germany, 1685; d. London, England, 1759) became a musician and composer despite objections from his father, who wanted him to become a lawyer. Handel studied music with Zachau, organist at the Halle Cathedral, and became an accomplished violinist and keyboard performer. He traveled and studied in Italy for some time and then settled permanently in England in 1713.

Although he wrote a large number of instrumental works, he is known mainly for his Italian operas, oratorios (including Messiah , 1741), various anthems for church and royal festivities, and organ concertos, which he interpolated into his oratorio performances. He composed only three hymn tunes, one of which (GOPSAL) still appears in some modern hymnals. A number of hymnal editors, including Lowell Mason ( PHH 96 ), took themes from some of Handel's oratorios and turned them into hymn tunes (see ANTIOCH, 337). -- Judas Maccabeus biography | birthday, trivia | Revolutionary | Who2 Judas Maccabeus Biography Revolutionary Judas Maccabeus led the Jewish people in recapturing their temple from Syrian occupying forces in 164 B.C., according to the ancient Greek books known as 1 and 2 Maccabees. The uprising was started in 167 B.C. by Judas’s father, the priest Mattathias, against Antiochus IV Epiphanes, the Syrian ruler of what is now Israel-Palestine.

Judas continued the revolt after Mattathias’s death, eventually retaking the desecrated Jerusalem temple. After restoring and dedicating it, Judas “and all the assembly of Israel” decided the event should be remembered annually “with joy and gladness for eight days,” now observed each December as Hanukkah (Hebrew for “to dedicate”). In the ensuing years, Judas fended off enemy attacks, liberated captive Jews in Galilee, evaded a kidnapping attempt, made an alliance with Rome, and died fighting Syrian forces. Judas Maccabeus should not be confused with Judas Iscariot , a disciple of Jesus of Nazareth . Extra credit The nickname “Maccabeus” probably meant “the hammerer.” Judas is also sometimes called Judah Maccabee… The Maccabees, also known as Hasmoneans, included Mattathias and several generations of descendants, starting with Judas and his brothers, John, Simon, Eleazar and Jonathan. Their story is told in G.F.

Handel ‘s popular operatic oratorio, “Judas Maccabeus” (1746)… For complex reasons, the books 1 and 2 Maccabees appear in Catholic and Orthodox Christian bibles and the “Apocrypha” appended to some Protestant Christian bibles, but not in Jewish ones… Filmmaker Mel Gibson was rumored in 2004 to be considering a Maccabee movie in the wake of his successful The Passion of the Christ, but his next project turned out to be Apocalypto, set in the ancient Mayan civilization (scheduled release: December 2006). Judas Maccabaeus, HWV 63 (Handel, George Frideric) - IMSLP/Petrucci Music Library: Free Public Domain Sheet Music Judas Maccabaeus, HWV 63 (Handel, George Frideric) Movements/SectionsMov'ts/Sec's 1746 (Act I: 8/9 July - 22 July; remainder completed 11 August) Genre Categories These file(s) are part of the Werner Icking Music Collection . Purchase Javascript is required for this feature.

Naxos Search These file(s) are part of the Werner Icking Music Collection . Purchase Javascript is required for this feature. Sheet Music Leipzig: Deutsche Händelgesellschaft , 1865. Plate H.W. 22. Copyright Javascript is required for this feature. Selections Ricasoli Collection at the University of Louisville Music Library . Contains the following numbers: 1, 3, 5, 7, 13, 15, 17, 18, 20b, 22, 24, 26, 28. This score consists of a single bound volume. It has been broken down into 2 segments to reduce file size. Purchase Javascript is required for this feature. Parts * #57017 - 0.39MB, 4 (2, 2) pp. - 0.0/10 2 4 6 8 10 (-) - V/V/V - 2425x ⇩ * #57018 - 2.37MB, 24 (12, 12) pp.

- 0.0/10 2 4 6 8 10 (-) - V/V/V - 1949x ⇩ * #57020 - 0.25MB, 4 (2, 2) pp. - 0.0/10 2 4 6 8 10 (-) - V/V/V - 1956x ⇩ * #57021 - 0.54MB, 6 (2, 2, 2) pp. - 0.0/10 2 4 6 8 10 (-) - V/V/V - 3072x ⇩ New York: Edwin F. Kalmus , n.d.(1933-70). Copyright These files are part of the Orchestra Parts Project . Purchase Javascript is required for this feature. Selections These manuscript parts contain the following numbers: 1, 3, 5, 7, 13, 15, 17, 18, 20b, 22, 24, 26, 28.

Purchase Javascript is required for this feature. Vocal Scores John Clarke-Whitfeld (1770-1836), keyboard reduction Language Braunschweig: Henry Litolff, n.d. Plate 1706 Copyright Friedrich Chrysander (1826-1901), piano reduction Language Leipzig: Deutsche Händelgesellschaft , 1865. Plate H.W. 22. Copyright * #99958 - 18.03MB, 187 (iv, 183) pp. - 0.0/10 2 4 6 8 10 (-) - V/V/V - 2340x ⇩ Charles Lamoureux (1834-1899), piano reduction Language Victor Wilder (1835-1892), French text Publisher. Info. Paris: Heugel , n.d.[1874]. Plate H. 4470. Copyright Javascript is required for this feature. Abridged version New York: G. Schirmer , 1909. Plate 20750.

Copyright Javascript is required for this feature. Selections Boston: Oliver Ditson Company , 1905. Plates ML-1106-8, 1148-7. Copyright This file is part of the Sibley Mirroring Project . Purchase Javascript is required for this feature. Arrangements and Transcriptions London: D'Almaine and Co., n.d.(ca.1850). Plate 13,405. Copyright Javascript is required for this feature. Duet: Come, ever-smiling liberty (Part I) For Cello and Piano (Roth) Leipzig: Breitkopf & Härtel , n.d.(ca.1895). Plate V.A. 1562. Copyright This file is part of the Sibley Mirroring Project . Purchase Javascript is required for this feature. Aria: How vain is man (Part II) For Violin and Piano (Heim) See: Palaestra , Vol.2b (No.28) Chorus: See, the conqu'ring hero comes! (Part III) For Female Chorus and Mixed Chorus Unsere Lieder. I.

Teil (pp.13-14) Klein Ilsede: Niedersächsischer Kirchenchor-Verband, n.d.(ca.1910). Copyright Scanned at 600dpi grayscale, converted to monochrome, not cleaned. Purchase Javascript is required for this feature. For Mixed Chorus (Taupin) These file(s) are part of the Werner Icking Music Collection . For a cappella chorus with Latin text. Purchase Javascript is required for this feature. For Mixed Chorus Chorbuch des "Sängerhain". Zweiter Band. Ausgabe B. Essen: G. D. Baedeker, n.d.[1899]. Copyright *Tochter Zion, freue dich. This sacred contrafacture (parody) is also attributed to Friedrich Heinrich Ranke (1798-1876). Scanned at 600dpi grayscale, converted to monochrome, not cleaned. Purchase Javascript is required for this feature. For 4 Recorders (Gomez) These file(s) are part of the Werner Icking Music Collection . Purchase Javascript is required for this feature.

For Piano 4 hands (Moszkowski) * #98708 - 0.53MB, 2 (#176-177) pp. - 0.0/10 2 4 6 8 10 (-) - V/V/V - 1374x ⇩ [ tag / del ] Misc. Notes “As transcribed by Moszkowski this fine old chorus gains additional eloquence and sonority, without violence to the original.” Purchase Javascript is required for this feature. For Piano solo (Moszkowski) * #98700 - 0.33MB, 2 (#370-371) pp. - 0.0/10 2 4 6 8 10 (-) - V/V/V - 3340x ⇩ [ tag / del ] Misc. Notes “This splendid old chorus See the Conquering Hero Comes from Handel’s well-known oratorio.[sic] M. Moszkowski has made a sonorous and effective piano piece of this number. Grade 4.” Purchase Javascript is required for this feature.

March (Act III, No.36) These file(s) are part of the Werner Icking Music Collection . Purchase Javascript is required for this feature. For Trumpet and Organ (Rondeau) These file(s) are part of the Werner Icking Music Collection . Purchase Javascript is required for this feature. Javascript is required to submit files. General Information 2. Chorus: Mourn, ye afflicted children 3. Duet: From this dread scene (Israelitish Man, Israelitish Woman) 4. Chorus: For Sion lamentation make 5. Recitative: Not vain is all this storm of grief (Simon) 6. Aria: Pious orgies, pious airs (Simon) 7. Chorus: O Father, whose almighty pow'r 8. Recitative: I feel the Deity within (Simon) 9. Aria and Chorus: Arm, arm, ye brave (Simon) 10. Recitative: 'Tis well, my friends! (Judas Maccabaeus) 11. Aria and Chorus a.

Aria: Call forth thy pow'rs, my soul (Judas Maccabaeus) b. Chorus: Lead on, lead on! 12. Recitative: To Heav'n's almighty King we kneel (Israelitish woman) 13. Air and Duet a. Air: O liberty, thou choicest treasure (Israelitish woman) b. Duet: Come ever-smiling liberty (Israelitish Woman, Israelitish Man) 14. Recitative: My zealous father, now at rest (Judas Maccabaeus) 15. Trio and Chorus: Disdainful of danger (Priest, Judas Maccabaeus, Simon; Israelitish Woman) 16. Recitative: Haste ye, my brethren (Simon) 17. Chorus: Hear us, O Lord Act II 18. Chorus: Fall'n is the foe 19. Duet and Chorus: Sion now her head shall raise (Israelitish Woman, Israelitish Man) 20. Recitative: Oh, let eternal honours (Israelitish Woman) 21.

Aria: From mighty kings he took the spoil (Israelitish Woman) 22. Chorus: Hail, Judea, happy land 23. Recitative: Thanks to my brethren! (Judas Maccabaeus) 24. Aria: How vain is man (Judas Maccabaeus) 25. Recitative: Oh Judas, oh my brethren (Israelitish Messenger) 26. Aria and Chorus: Ah! wretched, wretched Israel (Israelitish Woman) 27. Recitative: My arms! (Judas Maccabaeus) 28. Aria and Chorus: Sound an alarm! (Judas Maccabaeus) 29. Recitative: Enough! To Heav'n we leave the rest! (Simon) 30. Chorus: We never will bow down Act III 31. Aria: Father of Heav'n (Priest) 32. Recitative: Oh grant it, Heav'n (Israelitish Woman) 33. Aria: So shall the lute and harp awake (Israelitish Woman) 34.

Recitative: From Capharsalama on eagle wings I fly (Israelitish Messenger) 35. Chorus: See, the conqu'ring hero comes! 36. March

Question: Who composed the oratorio 'Judas Maccabeus'?
Answer: GEORGE FREDERICK HANDEL